安妮塔（英格丽·褒曼 Ingrid Bergman 饰）是一名极富才华的钢琴师，一次偶然之中，她邂逅了名为霍尔格（莱斯利·霍华德 Leslie Howard 饰）的小提琴师。霍尔格在行业内是数一数二的顶尖人物，尽管已经有了妻室，但惺惺相惜的安妮塔和霍尔格两人还是抵挡不住爱情的诱惑，违背了道德走到了一起。
安妮塔和霍尔德结伴前往世界各地展开巡回演出，这一段疯狂的日子充满了幸福和难忘的时刻，让安妮塔短暂忘记了自己的处境。然而，安妮特的老师格瑞塔（爱德娜·贝斯特 Edna Best 饰）将前者拉回了现实之中，在格瑞塔的谆谆教诲之下，安妮塔开始意识到自己的存在对霍尔格的家人造成了巨大的伤害，经过了痛苦的思量，安妮塔最终决定结束这段感情。

这是瑞典电影史非常有名的一部电影，也是德莱叶心目中的十佳电影之一。故事发生在约翰三世统治时期，一个家破人亡的妹纸和一个混蛋相恋的故事，结局极具悲剧性。

霍尔格（格斯塔·埃克曼 Gösta Ekman 饰）是一位非常著名的小提琴手，正在进行为期两年的全球巡回演出。当他终于结束了这场漫长的演出回到家中时，却发现一切都改变了。因为长时间的分离，妻子玛格丽特（因加·蒂德布拉德 Inga Tidblad 饰）对于霍尔格的感情已经十分的淡漠，女儿和儿子亦对父亲非常的疏远，这让霍尔格感到十分的委屈。
一次偶然中，霍尔格结识了名为安妮塔（英格丽·褒曼 Ingrid Bergman 饰）的家庭教师，随着时间的推移，两颗孤独的心渐渐靠近。然而，这将注定是一场不会有任何结果的不伦之恋，为了逃避道德上的谴责，安妮塔选择了不告而别。

挪威著名剧作家易仆生编剧，北欧电影黄金时代的开篇之作。全片實景挪威海岸拍攝，拍攝難度與戲劇張力超越當代。原本平凡的水手，戰時為了養家活口冒險出航，卻被軍人所俘。多年後脫身返家卻人事已非，只有滿腔怨怒相伴。某天，當年俘虜他的仇敵與相隨的妻女海上落難待援，他奮勇而至，卻陷入「復仇還是救援？」的天人交戰。
Terje Vigen, a sailor, suffers the loss of his family through the cruelty of another man. Years later, when his enemy's family finds itself dependent on Terje's beneficence, Terje must decide whether to avenge himself. Based on a poem written by Henrik Ibsen and entirely on location shooting at the Norwegian coast, the film claimed to be the most expensive production and marked the beginning of the Golden Age in the Nordic film history.

短片合集，多位瑞典导演合作，包括Jorn Donner、Vilgot Sjoman、Gustaf Molander、Lars Gorling这样的新浪潮主将，纪录与剧情短片都有，彩色+黑白，老将带新人模式，实际伯格曼那部爱情的感觉一般，不过其他几部很好。7/10，推荐喜欢新瑞典电影的人看。
“Stimulantia” is a series of shorts made by famous Swedish directors like Ingmar Bergman, Vilgot Sjoman (I’m curious - yellow), Gustaf Molander - who has Ingrid Bergman in this one - and a few others. And.. It also has a ferrari and a fan walking in Chaplin’s neighborhood and shouting questions when he sees him. There are no subs for this one, and it’s in Swedish. I don’t have a clue what its about. But hey, who does. nd who needs to when you mix nudity, Bergman, Chaplin, Ingrid and a Ferrari in the same movie.

A masterpiece of comic cinema that shows how the medium can transform and distort, as well as record, reality. Swedish cinema in the period 1917-21 was arguably the most sophisticated in the world, its major figure being the actor-director Victor Sjostrom, whose magnificently downbeat films combined literary adaptation, action, melodrama and astonishing natural backdrops. There are some of us, however, who prefer comedy to action melodramas, Lubitsch to Ford, and for this we turn to Sjostrom's contemporary, Mauritz Stiller, unfairly relegated in history to 'The Man Who Discovered Greta Garbo'.
'Thomas Graal's Best Film' is one of the best comedies of the silent era. It works as an adorable romantic comedy about a concupiscent novelist who falls for his secretary; as a startling social tract, with the dessicated aristocracy giving onto the modern world of cinema, entrepreneurs and the New Woman; as one of the first films about filmmaking - there is an exquisite parody of Griffith's monumental 'Intolerance', as the actor playing a hanged criminal complains about the pain of being hoist from a ceiling.
As early as 1917, before Hollywood was even heard of, we meet the philistine mogul hurling scripts into a wastepaper basket; the hysterical director; the overwrought, melodramatic actors. There is a wonderful scene where Bessie on horseback sees a man attacking a woman on a country road; coming cracking her whip to the rescue, she notices that a film crew are standing beside the roadside; she has mistaken fantasy for reality. This is the film's main theme, and the longest sequence features the title hero writing a screenplay after his mauling Bessie has forced her to flee; he imagines a desperate background of poverty for her from which he rescues her - this is the Best Film of the title.
Stiller's movie shows a thrilling modernity in this sequence as it blurs not only the reality of Graal's writing and the fantasy he imagines, but also intrudes Bessie's own story: she disrupts his narrative just as she disrupts all the forces of (male) power that would try to pin her down. Bessie is one of the great heroines of silent film, permanantly amused by the absurd complacency of the inferiors surrounding her, with a gorgeous, generous grin suggesting both a taste for playfulness, and a voracious sexual appetite. The scene where she flees her father and ritualistically forces him to abandon his paternalistic intentions by destroying the bridge between them is hilarious but provocative.
Graal's screenplay is not merely amusing for the gap between his assumptions and the actual truth. The imagined scene where the aristocratic parents become peasants, the father violent and drunk is subversive in itself (gentry reduced to peasants), but is also an apt metaphor for the patriarchal assumptions of the aristocracy.
Another aspect of the film's modernity is its narration, expressed through intertitles, sarcastic at the expense of the characters, suggesting melodramatic attitudes appropriate to the plot, than showing a very different reality (eg the despairing lover Graal sunbathing merrily on a country lake). There is a ritualistic sexual content (eg the scene in the boat where Graal blows on the window), and a willingness to sidetrack on 'irrelevant' bits (eg the cigarette tricks) that also excite the viewer; while the Surreal/Magritte/Feuillade-like abduction scene, fragmented and seemingly arbitrary, where bowler-hatted servants wait to pounce on Bessie, is spooky.
What makes 'Thomas Graal' a true classic though, and nearer to Sjostrom (who is terrific, his overacting more suited to comedy than drama), is the way the defiant artifice of the drama is shot against natural locations, producing a fruitful, jarring effect - Graal chasing Bessie through a country lane, slipping and losing his hat; a desperate Graal pushing a little old lady and stealing her boat, foreshadowing Seinfeld and a famous loaf of rye. There is a startling scene in a butcher's shop, a gallery of fresh carcass bloating the screen.

Willie Nelson is a country singer on the road caught in a romantic triangle with Dyan Cannon and Amy Irving, the daughter of one of his longtime musical sidekick.